tidalwavesmusic
Tidal Waves Music
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Happy #RSDBF !!!
Our two special Record Store Day Black Friday releases are available in participating record stores today (November 24, 2023).
BEN WEBSTER AND HIS QUARTET ‘WAYFARING WEBSTER'
-> Rare unearthed Dutch recordings from 1970
-> Featuring an all-star line-up
-> FIRST TIME ON VINYL
-> Limited 180g DOUBLE vinyl edition (1000 copies)
GALT MACDERMOT ‘GHETTO SUITE'
-> Rare 1972 conceptual funk-soul-jazz album
-> FIRST EVER VINYL REISSUE
-> Limited 180g vinyl edition (1000 copies)
-> Comes w/obi strip and extensive sleeve notes
For more info on these exclusive releases please visit www.tidalwavesmusic.com/catalog
Support your local record store!
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THE LIGHT IN THE ATTIC HOLIDAY SALE IS NOW LIVE.
You can now purchase a large selection of Tidal Waves Music releases at discounted prices, courtesy of the annual @lightintheatticrecords holiday sale!
Complete your TWM collection right now! First come, first served!
Please follow this link to see all discounted items –> www.lightintheattic.net
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CURTIS FULLER 'FOUR ON THE OUTSIDE’ (1978)
Curtis Fuller (December 15, 1932 – May 8, 2021) was an American jazz trombonist best known for being a member of several legendary jazz outfits, his impressive catalog of solo albums and a contributor to many classic jazz recordings.
Fuller was born in Detroit and lost both his parents at a very young age. He spent several years in an orphanage run by Jesuits where he developed a passion for jazz after one of the nuns there took him to see his first live performance. Curtis attended public school in his hometown (together with Donald Byrd and Milt Jackson) where he took up the trombone at the age of sixteen.
Curtis Fuller was a well-respected member of iconic outfits such as Art Blakey & The Jazz Messengers, Art Farmer’s Tentet, The Benny Golson Quintet and Eastern Rebellion. The list of his collaborations is impressive to say the least, Mr. Fuller recorded and performed with greats such as Quincy Jones, John Coltrane, Count Basie, Dizzy Gillespie, Freddie Hubbard, Roland Kirk Rashaan, Miles Davis…and many others.
Fuller was granted an honorary doctorate of music from Berklee College of Music in 1999 and eight years later he was honored as a NEA Jazz Master. Curtis Fuller’s performances were included on classic recordings released by prominent labels from the likes of Blue Note, Savoy, Prestige, Strata-East, Muse, Verve and Impulse!
On the album we are presenting you today: Four On The Outside (Recorded in 1978 at the famous New York CI Recording Studio and released on Timeless Records the same year) the listener is treated to six majestic tracks of the highest caliber and features a remarkable outing of advanced musicianship by jazz-giants in their prime, delivering an inspirational gem of an album.
The all-star line-up includes Pepper Adams (Oliver Nelson, Lalo Schifrin, Herbie Hancock) on saxophone, Dennis Irwin (The Jazz Messengers, Chet Baker) on bass and James Williams (Calvin Keys, Thelonious Monk) on piano.
Four On The Outside shows off Fuller’s mastery of the Trombone and this delightful set features him in a front line with Pepper Adams delivering a unique trombone-baritone saxophone combination (few others have followed this intriguing coupling). Curtis Fuller plays from the heart and is on top of his game. Expect sharp and elegant original compositions, machine gun-like spurts, angular boppish lines and top rhythm section work that never gets in the way of the horns spreading their wings. All of the above makes this record a must have for any self-respecting jazz fan or collector!
Tidal Waves Music now proudly presents a much-needed and long overdue vinyl reissue of these classic jazz recordings (originally released in 1978 and out of print on vinyl since 1986). This reissue comes as a deluxe 180g vinyl edition (strictly limited to 500 copies worldwide) and features the original artwork/photography by Don Diesveld & Hans Harzheim who are responsible for designing iconic album covers for the likes of Sun Ra, Pharoah Sanders, Charles Mingus and Ben Webster. This will also be the the first time the album is being released in North America and in the UK.
Available in stores October 13, 2023. Pre-order now from www.lightintheattic.net
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JAMES DALLAS 'LIFE FORMS’ (1982)
James Dallas is a talented producer, songwriter and saxophonist from Milwaukee. He started playing the clarinet in Junior High School at the age of thirteen, during this time public schools would loan students an instrument who could not afford their own. James originally requested an alto saxophone but none of those were available. In 1967 he got his hands on a baritone saxophone…and it became his main instrument for the next 15 years.
Dallas decided to pursue a career in entertainment (influenced by his parents who allowed him to play in a professional R&B band at the age of 14) and was possessed by an exceptional drive to excel in music. James wanting to showcase his talents as a multi-instrumentalist led him to his pursuit in playing the flute, various forms of the piano…and of course all the saxes & clarinets.
Soon he started playing with local bands and solo artists in the jazz & blues scene, he even participated on several recordings (mostly as part of the horn section)…but things really started to take of when James (together with his brother Chris and his cousin Kevin) started the outfit Heavy Weather. Most of the other bandmembers where his friends and would later become regular players on Dallas’ two solo albums ‘Life Forms’ (1982) and ‘Here And Now’ (1984).
The album we are proudly presenting you today: Life Forms (1982) was James Dallas debut album. Recorded at Mauer Brothers’ Studio and completely self-funded with the help and encouragement of his peers and family. Dallas paid for all the recording time and the privately pressed 1000 copies of the album…back then he could not have imagined that decades later it would become a much sought-after collectible that fetches high prices.
On Life Forms James Dallas is joined by a top cast of musicians such as Earl Thompson on percussion, Myron McClain and Noland Clark on drums, Rick Lacey and Robert Walls Jr. on guitar, Jake Simmons and Kevin Whitehead on bass. Kevin Whitehead (who is James’ cousin and known for his work with Ben Webster, Ella Fitzgerald, Miles Davis, Sun Ra and Pharoah Sanders) also wrote a track for the album. The whole venture truly is a family affair because James’ brother Christopher can also be heard on keyboards and the album design was handled by his other brother Calvin.
James Dallas surely deserves the title of ‘multi-instrumentalist’ because not only did he compose the majority of the songs (and produced the whole album) but next to his trademark soprano saxophone work, he also took care of playing the electric piano, flute, vocoder and keyboards.
The six songs on the fantastic Life Forms album are a heavy mix of mind-blowing funk, fusion and Vocoder/Odyssey synth extravaganza. If you are a serious collector or a smooth jazz underground enthusiast, then this is the thing for you! Also included is the magnificent ‘Sidetrack’ song that was included on the Numero compilation ‘NuLeaf’ released in 2020.
Tidal Waves Music (in collaboration with The Numero Group) now proudly presents the FIRST ever vinyl reissue of this iconic Jazz-Funk-Soul fusion album (original copies tend to go for large amounts on the secondary market) originally released in 1982 as a private pressing and now finally back available as a limited 180g vinyl edition (limited to 500 copies) complete with the original artwork and obi strip.
Available in stores October 13, 2023. Pre-order now from www.lightintheattic.net
An exclusive variant (#100 copies CLEAR Vinyl) is also available from www.lightintheattic.net
An exclusive variant (#100 copies COKE BOTTLE CLEAR Vinyl) is also available from www.roughtrade.com (UK) and www.roughtrade.com (US)
#jamesdallas#1982#Funk#souljazz#numero#numero group#tidalwavesmusic#lightintheattic#vinylmeplease#roughtraderecords
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GEORGE COLEMAN 'AMSTERDAM AFTER DARK' (1979)
George Coleman (born March 8, 1935) is an American jazz saxophonist best known for his work with Miles Davis and Herbie Hancock in the 1960s. Coleman was born in Memphis, Tennessee and learned to play the alto saxophone in his teens. After his work with Ray Charles, George started working with B.B. King in 1953 and switched to playing the tenor saxophone.
George Coleman was a member of legendary outfits such as Max Roach’s quintet, The Slide Hampton Octet, Miles Davis’ Quintet and The Chet Baker Quintet. The list of his collaborations is impressive to say the least, Mr. Coleman recorded and performed with greats such as Freddie Hubbard, Herbie Hancock, Charles Mingus, Ahmad Jamal, Idris Muhammad, Pharoah Sanders, Ornette Coleman, Melvin Sparks, Art Blakey…and many others.
Coleman was named an NEA Jazz Master, was added to the Memphis Music Hall of Fame in 2015, and received a brass note on the Beale Street Brass Notes Walk of Fame. George Coleman’s performances were included on classic recordings released by prominent labels from the likes of Blue Note, Atlantic, Prestige, Strata-East, Muse, Verve and Impulse!
On the album we are proudly presenting you today: Amsterdam After Dark (Recorded in 1978 at the famous NY Sound Ideas Studio and released on Timeless Records in 1979) the listener is treated to six majestic tracks of the highest caliber and features a remarkable outing of advanced musicianship by jazz-giants in their prime, delivering an inspirational gem of an album.
The all-star line-up includes Sam Jones (Dizzy Gillespie, Duke Ellington, Ben Webster) on bass, Billy Higgins (Donald Byrd, Thelonious Monk, John Coltrane) on drums and Hilton Ruiz (Roy Brooks, Rashaan Roland Kirk, Sonny Rollins) on piano. Most players featured here were also part of the legendary ‘Eastern Rebellion’ collective responsible for releasing multiple ground-breaking albums over several decades.
Amsterdam After Dark shows off George Coleman’s mastery of the sax, his brilliant vintage techniques and deep soulful tones. Coleman plays from the heart and is on top of his game. Expect both original compositions as well as standards, beautiful ballads with elegant (yet fierce) solos alternating between the instruments, growling blues-oriented themes…this is a contemporary sounding Hard Bop & Post-bop crossover album and a must have for any self-respecting jazz fan or collector!
Tidal Waves Music now proudly presents a much-needed and long overdue vinyl reissue of this classic jazz album (originally released in 1979 and out of print on vinyl since 1985). This reissue comes as a deluxe 180g vinyl edition (strictly limited to 500 copies worldwide) featuring the original artwork. This will also be the the first time the album is being released in North America and in the UK.
Available in stores September 15, 2023. Pre-order now from www.lightintheattic.net
An exclusive variant (#100 copies CLEAR Vinyl) is also available from www.lightintheattic.net
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ERROL STUBBS 'TURNING IT OUT’ (1986)
Armed with little more than his Peavy T-60 guitar and a Jumbo Fuzz pedal, Errol Stubbs and his bar-band cohorts cranked out a self-released tape of funked-up disco soul in 1986. With no label or distribution to speak of, Errol would simply put on his best suit and sell the cassettes by hand. The tape languished into obscurity…until now!
The story of Errol Stubbs begins in Birmingham, Alabama in 1959. The youngest of five, he was surrounded by music as a child–his aunt taught piano at Daniel Payne College while his older brother, Avery Beavers, was an accomplished jazz trumpeter. Under the guidance of Avery, Errol started playing trumpet at the age of nine, though he gravitated toward songwriting and quickly picked up the guitar. Inspired by blues greats the likes of Albert King, Buddy Guy, and Little Milton, 12-year-old Errol began mimicking the sounds that filled southern airwaves. As a teenager, he played at barbecues, fish fries, and dive bars across the Magic City. After a brief stint at Jefferson State studying music, Errol’s passion for songwriting beckoned him away from the classroom.
Stubbs bounced around bar bands before settling on a live lineup and saving enough dough to take his vision to the recording studio. Over the course of two days, his well-rehearsed band recorded Turning it Out mostly live to tape at the Sound Of Birmingham Studio. Located on Birmingham’s east side, the state-of-the-art studio kept the lights on by recording commercial jingles but was more than happy to open their doors to local talent.
Taking notes from guitar god Ernie Isley and funk legend Rick James, the resulting recordings are drenched in cosmic phaser-fuzz guitar work, slapping bass lines, and sexual disco innuendos. Big brother Avery lends a hand on Clavinet for “Sweat,” while studio owner/engineer Don Mosley adds a tasteful dose of Moog synthesizer across a handful of cuts.
Soon after the Sound Of Birmingham sessions, Errol released the private pressed EP “Dancin’ Fancy,” b/w “Spaced Out On Your Love,” the latter of which was featured on Numero Group’s 2019 compilation Visible and Invisible Persons Distributed In Space.
The seven-song cassette Turning It Out was sold in local record stores and from night club stages, but only a few copies made their way out of Birmingham. Now Tidal Waves Music (in collaboration with the Numero Group) proudly presents the first ever vinyl release of these unearthed and overlooked recordings, professionally restored for fans and collectors of rare funk/soul to discover and enjoy. This album comes as a 180g vinyl edition (limited to 500 copies) complete with all new artwork and obi strip.
Available in stores September 15, 2023. Pre-order now from www.lightintheattic.net
An exclusive variant (#100 copies CLEAR Vinyl) is also available from www.lightintheattic.net
An exclusive variant (#100 copies HOT PINK Vinyl) is also available from www.roughtrade.com (UK) and www.roughtrade.com (US)
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MARCOS VALLE & AZYMUTH ‘FLY CRUZEIRO’ (1972)
Marcos Valle needs little introduction, born in Rio de Janeiro in 1943, Mr. Valle is an award-winning/chart-hitting Brazilian singer, songwriter and record producer. He was raised on a staple diet of classical, Brazilian popular music and North American jazz. Marcos Valle grew up to be one of the most influential & innovating musicians of the Bossa nova period and is regarded as one of the greatest Brazilian artists of all time. He has recorded albums for North American labels such as EMI, Warner Brothers & Verve…cementing his career with a series of tight musical workouts moving seamlessly between funk, samba, soundtracks, soul, jazz, dance and rock. Valle contributed to some of the most important recordings by artists including Sarah Vaughan, Frank Sinatra, Sergio Mendes, Leon Ware, Chicago and Airto Moreira. Mr. Valle’s work has been sampled/remixed by major artists from the likes of Jay-Z, Kanye West & Madlib.
One of Valle’s favorite bands to frequently collaborate with was no doubt Azymuth, who took their name from a Valle song!
Azymuth (Bertrami-Malheiros-Conti) started their individual careers in the 1960s in the emergent Bossa nova and jazz scene of Rio, living in the same bohemian block in Copacabana and playing in small bars as session musicians under various other names.
It was the early 1970s when Azymuth really began to cause a stir and Marcos Valle invited them to record on a soundtrack LP he was doing. The unique Azymuth sound was now born: a mix of electronic music, samba, funk and jazz that they defined as MPB-jazz (MPB stands for Musica Popular Brasileira). Over the decades Azymuth released extremely successful albums (selling millions of copies) on labels such as Polydor, Som Livre and Atlantic. Hitting the charts on multiple occasions, Azymuth played at the Monterrey and Montreux jazz festivals and at venues around the globe.
The band has worked with legendary musicians from Joe Henderson to Stevie Wonder and they’ve also been remixed/sampled by artists such as Flying Lotus, will.i.am, MF DOOM and Peanut Butter Wolf. Their unique brand of fusion-music has influenced three generations of musicians, DJs, and producers. Music journalists across the spectrum from mainstream to underground, celebrated these raw yet wildly imaginative and musically accomplished tracks that were a revelation of jazz, funk and disco, with some even stating that the roots of EDM were on display in their early recordings.
On the album we are presenting you (Brazil by Music – Fly Cruzeiro) the listener is getting yet another fantastic early Valle/Azymuth collaboration. Released in 1972, this rare album was pressed and gifted to customers of the ‘Cruzeiro’ airline company. This promotional record came as no surprise because the connection between Cruzeiro Airlines and Valle was very tight (Valle’s father was the manager and his brother was a co-pilot there).
Next to the Valle/Azymuth material present, other songs include some of the all-time best Brazilian standards originally written by renowned artists such as Jorge Ben & Antonio Carlos Jobim. Take a flight with us through this fantastic album and into some of the best Jazz, Funk & Bossa Nova the Brazilian musical landscape has to offer.
This official reissue is now available as a deluxe 180g TANGERINE COLORED vinyl edition (limited to 500 copies) packaged in a gatefold jacket and also comes with an insert containing rare pictures and liner notes courtesy of Marcos Valle himself.
Available in stores September 15, 2023. Pre-order now from www.lightintheattic.net
An exclusive variant (#100 copies HIGHLIGHTER YELLOW Vinyl) is also available from www.amoeba.com
An exclusive variant (#100 copies BLACK ICE Vinyl) is also available from www.roughtrade.com (UK) and www.roughtrade.com (US)
An exclusive variant (#100 copies BLUE COLORED Vinyl) is also available from www.bullmoose.com
#tidalwavesmusic#marcos valle#azymuth#brazilbymusic#flycruzeiro#brazil#1972#roughtrade#roughtraderecords#lightintheattic#amoeba#amoebamusic#bullmooserecords
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DR. ORLANDO OWOH ‘DR. ORLANDO OWOH AND HIS YOUNG KENNERIES BAND’ (1977)
A household name in Nigeria, Dr. Orlando Owoh enjoyed a durable popularity that has cut across generational lines in his home country and beyond. Leading groups such as the Omimah Band and the Young Kenneries, Owoh remained popular even as Nigerian tastes shifted to the newer Juju and Fuji styles! Before this transition, the hot style in Nigeria and Ghana was called Highlife. It developed from a traditional Yoruba genre called “palm wine music”, overlaid with danceable guitar rhythms, and, in the hands of many musicians, it also contained a strong element of Trinidadian calypso. Owoh combined this aesthetic with a traditionalist spin on things to make his own brand of excellent sound.
His story, like that of many musicians, is a progressive journey in which we can see his choice in musical trends shaping in response to the events in his life. He travelled far in the music world before his passing in 2008 and is remembered to this day even outside of his devoted Nigerian fans. Dr. Orlando Owoh left us with a musical legacy spanning over forty years and he became one of the leading proponents of highlife music with over 45 classic albums to his name, including many hit singles.
Owoh played drums and sang with the Kola Ogunmola Theatre Group (one of the most prominent ensembles in the country) when Queen Elizabeth visited Ibadan, Nigeria, in 1956. Performing with several bands, Owoh realized that music in West Africa was developing in a new direction and started taking lessons on the electric guitar. Owoh notched several hits in Nigeria in the 1960s, but his career was slowed between 1967 and 1970 by the country’s civil war. Owoh fought for the Nigerian government against the country’s Biafran rebels. After the war he recorded a major hit called “Oriki Ilu Oke,” and his fame spread to Nigerian expatriate communities. In 1972 he played in London, England and went on to play shows for large audiences featuring South African legend Miriam Makeba. After receiving a doctorate degree in music he was known as Dr. Orlando Owoh.
In Owoh’s music, the sophisticated Caribbean-style horn arrangements of Highlife were deemphasized in favor of Owoh’s guttural voice, guitar, percussion, and down-to-earth lyrics. Owoh’s grassroots take on Highlife music and provocative lyrics led him into political realms in the turbulent Nigeria of the 1980s. Orlando Owoh entered each of his decades of performing with his prowess and popularity undiminished. Heard today, his music sounds distinctly more traditional than that of other Highlife bands and strongly evokes the music’s rootsier base. He also generally remained true to the small guitar-band format of Highlife, rather than adapting his style to the huge, kinetic ensembles. He sang mostly in Yoruba, but recorded music in English on occasion. His recordings, like those of other African musicians, consisted of long, dance-suitable medleys of connected pieces; they gave only a small slice of what would occur during an actual Owoh performance, which might last all night.
Dr. Orlando Owoh left his mark on the world in multiple ways. To Nigerians and Ghanaians, he will not be forgotten for his contributions to their culture, and his reinvention of existing genres and trends. To the political world, he will not be forgotten for how he stood against the establishment. And of course to the music world, he will never be forgotten for how he united the planet under songs that Africa should be proud of. Like a proud canary, his songs elevated the world to a height that can never leave us.
The album we are presenting you today (Dr. Orlando Owoh And His Young Kenneries from 1977) comes swinging right out of the gate with a set of no less than NINEmonster tunes. Expect nothing less than some of the best traditional Juju, Yoruba and highlife tracks that will leave you captivated from start to end. This is a quintessential record that every serious collector or fan needs to have in his/her collection.
Originally released in 1977 on Decca Records Nigeria, Tidal Waves Music now proudly presents the first official reissue of this seminal album. This is also the first time the album is being released outside of the African continent. This unique record comes as a deluxe 180g vinyl edition (strictly limited to 500 copies worldwide) with obi strip and featuring the original artwork.
Available in stores July 28, 2023. Pre-order now from www.lightintheattic.net
An exclusive variant (#100 copies CLEAR Vinyl) is also available from www.lightintheattic.net
An exclusive variant (#100 copies CUSTARD COLORED Vinyl) is also available from www.ziarecords.com
#dr. orlando owoh#Nigeria#1977#yoruba#highlife#tidalwavesmusic#lightintheattic#VMP#vinylmeplease#ziarecords#zia
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THE REAL SHOOBEEDOO ‘Good To Go’ (1983)
The Real ShooBeeDoo (AKA Reggie Fields) has always been a consistent name on the Detroit jazz scene … Fields who played with Pharoah Sanders while he was living in Motor City, worked with Sun Ra in the late 1970s and early 80s and who was also a close associate of the Afro-centric TRIBE label and artist collective, leaving his marks on a few essential TRIBE sessions such as Phil Ranelin’s “The Time Is Now!” as well as Ranelin & Wendell Harrison’s masterpiece “A Message From The Tribe”. It was Wendell Harrison who gave Fields the chance to record his landmark solo album (Reminiscing from 1981) to be released on his Wenha imprint. Reggie chose to record under his moniker “The Real ShooBeeDoo” because he built a rock-solid reputation as an internationally acclaimed performer under that name.
In 1982 he embarked on a European tour and performed at various clubs in countries such as Germany, Holland, Belgium, Italy, Switzerland, Luxemburg, France and Norway. This ecstatic touring vibe can later be heard on his fantastic ‘‘Live at Montreux Jazz Festival, 1982” album (simply called ‘Good To Go’).
“Good To Go” which we are proudly presenting you today features 10 tracks consisting of smooth Jazz-rumbas, French avant-garde jazz vocalizations, bass lines that can blow through walls as if they were made from paper, foot stomping rhythmic beats, lyrics that are pure poetry and ecstatic beats that took the crowd on a musical trip that ended in them raving for more. Playing before a large and enthusiastic crowd, Reggie’s spiritual cosmic free-flowing rhythms took the audience by storm…and the stakes were high because the bill was pretty impressive, he shared the stage with some of the biggest names in the genre (the festival bill also included Miles Davis, Dizzy Gillespie and Sonny Rollins).
Also…a quick closer look at the cast of all-star players featured on the album is most likely to be enough to get an impression that this is a very special record. Detroit preferred pianist Earl Van Riper brings his rich musical experience to the table that he perfected during his collaborations with Marcus Belgrave, Eddy ‘Cleanhead’ Vinson, Dinah Washington, Wes Montgomery and countless others. On the tenor saxophone we have Robert Barnes known for his work with Donald Bird…and last but not least we have Tani Tabbal on drums who is famous for his performances and recordings with Roscoe Mitchell and Sun Ra!
All of the above makes this rare album a total must-have that just begs for a prominent place in your record collection!
Tidal Waves Music now proudly presents the first ever vinyl reissue of ‘Good To Go’ since its original release in 1983 on Wendell Harrison’s WenHa label (original copies tend to go for silly money on the second-hand market). This official reissue is now available as a deluxe 180g vinyl edition (limited to 500 copies with obi strip) and features the original artwork and extensive sleeve notes by Reggie Fields and renowned jazz writer J.P. Lutcher.
Available in stores July 28, 2023. Pre-order now from www.lightintheattic.net
An exclusive variant (#100 copies CLEAR Vinyl) is also available from www.lightintheattic.net
#therealshoobeedoo#reggiefields#triberecords#Wendell Harrison#tidalwavesmusic#montreux#jazz#live#1982#lightintheattic
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FREDDIE HUBBARD & ART BLAKEY ‘FEEL THE WIND’ (1989)
Welcome to ‘Feel The Wind’…maybe one of the greatest team-ups in Jazz history featuring jazz superstars Art Blakey and Freddie Hubbard!
Art Blakey (1919–1990) needs little introduction, the American Jazz drummer and bandleader made a name for himself in the 1940s & 1950s playing with contemporaries such as Miles Davis, Dizzy Gillespie and Charlie Parker. He is often considered to have been Thelonious Monk’s most empathetic drummer (he played on both Monk’s first recording session in 1947 and his final one in 1971). In the decades that followed Blakey recorded for all THE labels that mattered in the field of jazz (Columbia, Blue Note, Atlantic, RCA, Impulse!, Riverside, Prestige, Verve, etc.). His collaborations were numerous and include working with equally legendary artists such as Sonny Rollins, Max Roach, Chet Baker, John Coltrane….and countless others. Art Blakey was a major figure and a pioneer for modern jazz, he assumed an aggressive swing drumming style early on in his career and is known as one of the inventors of the modern bebop style of drumming. Blakey was sampled and remixed by major acts such as The Black Eyed Peas, Digable Planets, Buscemi, KRS-One and Madlib. The legacy of Art Blakey is not only the music he produced, but also the opportunities they provided for several future generations of jazz musicians.
Freddie Hubbard (1938-2008) also needs little introduction, he was one of the most renowned American jazz trumpeters who played bebop, hard bop and post-bop from the early 1960s onwards. His unmistakable and influential tone contributed to new perspectives for modern jazz and bebop. At the age of 20, in New York, he began playing and recording with some of the best jazz players of the era, including Don Cherry, Quincy Jones, Ornette Coleman, John Coltrane, Wayne Shorter, Oliver Nelson and Herbie Hancock. Freddie Hubbard recorded for labels such as Blue Note and Atlantic and he became a prominent member of Art Blakey’s Jazz Messengers. Hubbard achieved his greatest popular success in the 1970s with a series of landmark albums. Hubbard’s trumpet playing was featured on the track “Zanzibar” from the 1978 Billy Joel album 52nd street (the 1979 Grammy Award Winner for Best Album) and in 1988, Hubbard played with Elton John contributing trumpet and flugelhorn solos. In 2006, the National Endowment for the Arts accorded Hubbard its highest honor in jazz, the NEA Jazz Masters Award. Freddie Hubbard was sampled and remixed by renowned artists such as Raekwon, A Tribe Called Quest, Beastie Boys, Jungle Brothers and Kamasi Washington.
On the album that we are presenting you today (Feel The Wind from 1989) , you’ll find six sublime tracks recorded in 1988 by renowned engineer Max Bolleman at the Studio 44 Monster in Holland. These recordings were originally released on the legendary Dutch jazz label Timeless Records (and produced by its owner Wim Wigt). Supporting Hubbard and Blakey is an all-star line-up of musicians from the likes of Leon Dorsey (Lionel Hampton), Lonnie Plaxico (Dizzy Gillespie, Ravi Coltrane), Benny Green (Joe Henderson, Houston Person, Milt Jackson), Mulgrew Miller (Frank Morgan, Donald Byrd) and Javon Jackson (Cedar Walton, Curtis Fuller, John Hicks).
The combination of this being one of Art Blakey’s final recordings near the end of his life and a glorious rejuvenating return by Freddie Hubbard gives us all the ingredients for a unique album that sounds as innovating today as back in the day when it was released. Expect supercharged hard bop with striking notes, no-holds-barred musicianship, high swinging solos, screaming choruses and plenty of solid virtuosity to spare. This release is not only a classic but also a bonafide hit and a must have for any self-respecting jazz fan or collector.
Tidal Waves Music now proudly presents this much-needed vinyl reissue that pairs up two iconic jazz legends at the top of their game. Originally released in 1989, this is the first time these unique sessions are being reissued as a deluxe 180g vinyl edition w/obi strip.
Available in stores July 28, 2023. Pre-order now from www.lightintheattic.net
An exclusive variant (#200 copies CLEAR Vinyl) is also available from www.lightintheattic.net
An exclusive variant (#300 numbered copies VIOLET COLORED Vinyl) is also available from www.vinylmeplease.com
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MIXED BAG ‘MIXED BAG’S FIRST ALBUM’ (1976)
Mixed bag (aka The Mixed Bag) was an all-star project from Detroit/Ann Harbor area who released one of the most obscure albums on the Tribe Records label in the 70s (and one of the greatest too). The line-up is impressing to say the least:
On bass we have RON BROOKS (who also produced the album). Brooks has been a major player in, and influence on, the Detroit jazz community for several decades. Ron emerged on the scene in the 1960s, performing on bass with piano greats-to-be Bob James and Stanley Cowell. He was a member of the Contemporary Jazz Quintet, led by the late, great Detroit pianist Kenny Cox.
On the drums we have DANNY SPENCER who has a unique style that exemplifies the best of the Detroit tradition of aggressive and explorative drummers which gave the jazz world Elvin Jones, Freddie Waites, and Louis Hayes among others. His intense propulsive energy combined with his ability for subtle colorations made him Joe Henderson’s choice for touring in the seventies and many concerts ever since. Spencer was also part of the legendary Contemporary Jazz Quintet which recorded for Blue Note and Strata Records.
On Keyboards we have EDDIE RUSS who was an impressive jazz keyboardist-composer-arranger who worked with numerous legends through several decades, including Sonny Stitt, Sarah Vaughn, Dee Dee Bridgewater, Dizzy Gillespie, Stan Getz, Roland Kirk, Marcus Belgrave, among many others. Russ came into his own in the 1970s with trend-setting excursions into jazz-funk that mirrored James Brown’s forays into hip-hop and dance.
On the flute we have LARRY NOZERO who is a first call alto player and doubles on soprano sax and flute. No stranger to success, Nozero’s previous credits and collaborators include Henry Mancini, Sergio Mendes, and playing Soprano sax on Marvin Gaye’s iconic 1971 album, What’s Going On. Larry Nozero was at the forefront of many prominent musical projects in the Detroit area.
Recorded at the Holland-Dozier-Holland Sound Studios where Tribe classics such as Wendell Harrison’s ‘Farewell To Welfare’ saw the light (but also home to P-Funk stars Parliament) the listener is treated to six sublime tracks built around skipping rhythms on drum and bass, filled in by angular reed passages and topped off with some really sweet keyboards. Expect nothing less than THE perfect blend of funky fusion and righteous soul jazz combined with gorgeous post-bop ballads and upbeat Latin flavored contemporary jazz.
Tidal Waves Music now proudly presents a much-needed reissue of this spiritual Soul Jazz classic that was originally released on Tribe Records in 1976. This rare record (original copies tend to go for LARGE amounts on the secondary market) now comes as a deluxe 180g vinyl edition, strictly limited to 500 copies worldwide with obi strip and features the original sleeve notes by Bob James (known for his work with Chet Baker, Quincy Jones and Idris Muhammad).
Available in stores July 28, 2023. Pre-order now from www.lightintheattic.net
An exclusive variant (#100 copies CLEAR Vinyl) is also available from www.lightintheattic.net
An exclusive variant (#100 copies ORCHID COLORED Vinyl) is also available from www.ziarecords.com
#tribe#triberecords#jazz#souljazz#Fusion#1976#ron brooks#Wendell Harrison#tidalwavesmusic#lightintheattic#ziarecords
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PAUL JACKSON ‘BLACK OCTOPUS’ (1978)
Paul Jackson (born in Oakland, California in 1947) needs little introduction. Paul began playing bass at the age of nine and was considered by many of his teachers to be a musical prodigy. Jackson was known as a “Musician’s Musician” and shaped a sound that launched a new direction in contemporary music: the so-called ‘Pulse Playing’, a trademark sound of close-meshed funk grooves combined with sensational rhythms. With this innovative approach, he influenced entire generations of jazz and funk musicians to come. Paul’s compositions were sampled by big acts from the likes of Prince, TLC, Mobb Deep and NWA…just to name a few.
Paul Jackson was a founding member of the Headhunters under Herbie Hancock (THEgroup responsible for their ground-breaking fusion and jazz-funk compositions that took the world by storm in the 70’s). The solid union between Hancock and Jackson has been especially evident in the many international tours they have made together…not to mention that he participated on most of the Headhunters albums and Herbie’s solo albums.
Paul has also worked as a producer and as a studio/live musician alongside acts such as Santana, Sonny Rollins and The Pointer Sisters. He was a frequent guest performer at renowned international festivals such as the Montreux and Newport events. Jackson’s composing has not gone without recognition and was nominated for Grammy Awards in 1974, 1975 and 1976. Like other highly talented, creatively motivated engineers of music, Paul has expanded his career to other mediums such as playing on blockbuster movie soundtracks such as “Death wish” and “Dirty Harry”.
Paul Jackson also wrote five solo albums worth listening to – including the monster of an album that is known as “Black Octopus” which is considered to be a kind of lost Headhunters album.
His debut album “Black Octopus” saw the light of day in 1978 and is a total piece of art filled with abstract sticky funky grooves, floating electric piano playing, strong thumping bass lines, raw heavy drums and amazing vocal acrobatics (Jackson himself takes vocals in 3 out of 5 songs, and his soulful singing voice strikes an emotional chord that does not go unnoticed).
On “Black Octopus” you’ll also find some of the best all-star musicians from the likes of Alphonse Mouzon (Roy Ayers, Betty Davis, Azar Lawrence)…and last but not least fellow Headhunters Bennie Maupin and Herbie Hancock himself.
With “Black Octopus” Paul Jackson wrote the book on how a jazz-funk-fusion album should sound like. The fact that the album was only distributed in Japan at the time (Jackson resided in Tokyo since the late 70’s, where he passed away in 2021) continues to increase its reputation as an album that is VERY hard to find. This is a must-have gem…not only for fans of jazz, funk and rare grooves, but also for DJs and collectors around the globe.
Tidal Waves Music in collaboration with Totown Records now proudly presents the first ever official reissue outside of Japan of this fantastic Jazz-Funk masterpiece (originally released in 1978 on Eastworld/Toshiba EMI). This rare record (original copies tend to go for large amounts on the secondary market) is now finally back available as a limited 180g vinyl edition (limited to 500 copies) complete with the original artwork and obi strip. Also included is a double-sided insert containing rare pictures of the band.
Available in stores July 28, 2023. Pre-order now from www.lightintheattic.net
An exclusive variant (#300 numbered copies GOLD COLORED Vinyl) is also available from www.vinylmeplease.com
#paul jackson#black octopus#1978#headhunters#herbie hancock#jazzfunk#japan#totownrecords#tidalwavesmusic#lightintheattic#VMP#vinylmeplease
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HOME BOY AND THE C.O.L. ‘HOME BOY AND THE C.O.L’ (1982)
Cecil Johnson Lyde Holden aka “Home Boy” (born 1948) is an artist whose musical talent has been unmistakable since his days as a young boy. Growing up listening to his parents 78 RPM Doo-wop, Blues, Jazz and Gospel records, he started signing in church when he was 6 years old. At the age of 10, his mother took him to the famous Club DeLisa (Chicago’s celebrated night spot) and entered him in a talent contest where he won first price singing “Only You” by The Platters. This key-event had sparked a burning desire and a love for music in Cecil that would never leave him…it created an opportunity for him to become an entertainer and recording artist.
Flash forward to the 1960’s when he met Mr. Otis Leavill who was one of the leading figures in the Chicago Soul scene. Leavill was already a well-established recording artist, producer, recording studio co-owner and talent scout (he discovered Yvette Stevens aka ‘Chaka Khan’). Guided by his now mentor, Cecil was exposed to professional studio recording work and productions. He began to work with Otis’ roster of artists, developing his own songwriting skills and musical style in the process. Later he started working with many of Chicago’s great musical talents of the time: Curtis Mayfield, The Chi-Lites, Major Lance, Gene Chandler, Barbara Acklin…and countless others. Cecil Lyde helped recording songs for Chess, Brunswick and St. Lawrence Records. Sadly, by the early 1970’s Chicago’s famous “Record Row” (the area where all the independent record companies were located) started to close down and as a result many bands broke up.
Not discouraged by the closing of “Record Row”, Cecil and some of his childhood singing buddies (under the name of Experience II) landed a production deal and found themselves signed to Capitol Records in 1973. The single ‘Bout Time I Told You Baby’ was well received and became a hit. Later on Cecil Lyde, Bruce Fisher and Rick Giles formed the group ‘Lyde, Fisher & Giles’ aka ‘Stone Free’ who released a privately pressed (and now very rare) promo 7inch titled ‘Serve Me Right To Suffer’…but before the band could fully materialize, Bruce Fisher left the group and went on to write songs for Quincy Jones and Bernard Purdie. Rick Giles also went his separate way to write hits for Earth, Wind & Fire.
As a result of all these tumultuous Chicago events, Cecil was convinced he needed to take the next step and make the move to Los Angeles. It was here that he recorded/produced his first solo album “Stone Free” (1980) and put the genius of many of LA’s finest session players to good use on his two magnus-opus recordings “Home Boy And The C.O.L. (the cost of living)” & “Out Break” (both released in 1982 and 1984 respectively).
Looking for a new direction in the mid 1980’s, Cecil moved on to radio and music promotion/marketing. The rise of the internet brought more exposure and much overdue appreciation for Cecil Lyde’s story. Audiences from Beijing to the UK have now discovered his unique style and his albums are now highly priced collectables, searched for by fans and collectors around the globe.
The album we are proudly presenting you today (Home Boy And The C.O.L.) is Cecil Lyde’s self-titled debut under the ‘Home Boy’ name and was released in 1982 on his own label Alwest Records. The whole album is backed by a fantastic cast of all-star players that includes John Stephens (Miles Davis, Stevie Wonder), Fred Brown (Gwen McCrae), Rommel Sinclair (Fred Wesley), Gary Bell (Lionel Hampton), Carl Lockett (Pharoah Sanders, Chuck Mangione) and Terry Carter (Swamp Dogg).
These recordings (ten songs in total) are particularly interesting to boogie-enthusiasts because of their high doses of funky twerks, solid grooves, crazy synth work, excellent drumbeats and Cecil’s soulful Doo-wap influenced vocals. This album just oozes Soul, Funk and Boogie…you’ll quickly find yourself shaking hips the moment the needle hits the first track! Also included are the tracks ‘I’ll Make It On My Own’ (which became a hit in the UK’s Norhern Soul scene) and ‘Home Boys Revenge’ which was later remixed by DâM-FunK (Stones Throw Records). All of the above makes this LP an essential purchase for any self-respecting fan and collector.
Tidal Waves Music now proudly presents the FIRST ever vinyl reissue of “Home Boy And The C.O.L.” originally released and privately pressed on Alwest Records in 1982. This rare record (original copies tend to go for LARGE amounts on the secondary market) now comes as a deluxe 180g vinyl edition, strictly limited to 1500 copies worldwide with obi strip and features the original artwork.
180g Black vinyl ( w/obi strip) left-over copies are now available to order from www.lightintheattic.net
Available in your local record store worldwide!
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Happy #RSD23 !!!
Our four Record Store Day releases are available in participating record stores today (April 22, 2023).
For more info on our exclusive Record Store Day releases please visit www.tidalwavesmusic.com/catalog
Support your local record store!
These releases are only available in UK/EUROPEAN stores, but all four albums are getting a North American vinyl release on May 05, 2023. You can pre-order these US versions here -> www.lightintheattic.net
#rsd23#rsd2023#Record Store Day#tidalwavesmusic#lightintheattic#ben webster#maxwell udoh#karin jones#Wendell Harrison
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CALVIN KEYS ‘FULL COURT PRESS’ (1985)
Jazz guitarist Calvin Keys is a legend among soul-jazz-funk fans for both his work as a session & touring musician and for the catalog of classic releases under his own name. Key’s playing style is lean & muscular and his unique phrasing balances sophisticated jazz harmonics with funky R&B & soul grooves. Since the 1960s Calvin Keys has performed/recorded with renowned artists such as Ahmad Jamal, Ray Charles, Pharoah Sanders and Joe Henderson. He is also a mentor to young talent, offers private lessons, and is a frequent teacher at the yearly happening ‘Jazz Camp West’.
Calvin Keys was born in 1943 in Omaha, Nebraska. His first musical influence was his father Otis, a well-known drummer in the city’s music scene…he passed the music bug on to Calvin, who picked up the guitar early. Keys landed his first notable gig as a member of Eddie “Cleanhead” Vinson’s band when he was 17 and then went on to play with Preston Love (of the Count Basie Orchestra). Later on, he would also join The Jimmy Smith Trio and then worked through the rest of the 1960’s with legends such as Jimmy McGriff, Richard “Groove” Holmes and Brother Jack McDuff.
After moving to Los Angeles in the 1970’s, he signed to Gene Russell’s now-legendary Black Jazz label where he cut his first two albums: Shawn-Neeq (1971) & Proceed with Caution (1974). Next to his own output on Black Jazz Records, Calvin Keys also did session work for the label and played on several of its hit records. At this point in time Keys also auditioned for the Ray Charles Orchestra…his unique phrasing and his ability to balance sophisticated jazz harmonics with tough R&B and soul grooves were showcased nightly in Charles’ band. Before relocating to San Francisco in 1975, he also played on Billy Brooks’ jazz-funk classic ‘Windows of the Mind’ (1974) and focused on more live and session work. Keys then joined Ahmad Jamal’s group and spent close to a decade with the pianist, touring the globe and recording six albums with him.
The 1980’s and 1990’s also proved similarly fruitful for Calvin Keys…he was a ‘first-call’ studio & live sideman and amassed massive credits for touring with all-stars from the likes of Tony Bennett, Pharoah Sanders and Sonny Stitt. He released two more fantastic solo albums: Full Court Press (1985) & Maria’s First (1985), this time on Olive Branch Records. In 1991 he was featured on the recordings for the original score of the film ‘Dying Young’ composed by James Newton Howard. Next to all of this, his session and live work with his own trio continued at a relentless pace. He settled down in the Bay area and played a multitude of gigs throughout the 1990’s.
After being sidelined in 1997 by heart surgery, Calvin Keys entered the new millennium with a bang! He released five widely acclaimed Jazz-charting albums & worked with major players from the likes of Taj Mahal (Santana, Miles Davis), Chester Thompson (Tower Of Power), Big John Patton (Blue Note), Phil Ranelin (Tribe), Sonny Fortune (Roy Ayers, Strata East), Buell Neidlinger (Lionel Richie, Quincy Jones), Peter Erskine (Joni Mitchell, Weather Report) and Lonnie Smith. There’s no such thing as ‘slowing down’ for Mr. Keys!
On the album we are proudly presenting you today (Full Court Press) you’ll find seven sublime tracks recorded in 1984 and released in 1985 on the Olive Branch label. This was Calvin Key’s first solo album since his recordings for Black Jazz Records back in the 1970’s. Full Court Press features an impressive arsenal of working road dogs that Keys had shared the stage with over the years. Included are: Maxayn Lewis (The Ikettes, Morris Day), Mike Thompson (Freddie Hubbard), James Gadson (Marvin Gaye, Herbie Hancock), Donny Beck (Buddy Miles, Bobby Lyle)…and many others.
Full Court Press is THE dictionary definition of smooth (yet funky) soul-jazz, with washes of warm, laid back grooves pinned under Keys’ endless dancing up and down the fretboard. The playing is ‘deep in the pocket’ and comes off elegant and effortless. Fluid rhythmic fingerpicking that makes you forget all about time and space. This essential release deserves a prominent place in your record collection!
Tidal Waves Music now proudly presents the FIRST ever vinyl reissue of “Full Court Press” (originally released on Olive Branch Records in 1985). This rare record (vintage copies are not easy to come by) now comes as a deluxe 180g vinyl edition, strictly limited to 1800 copies worldwide with obi strip and features the original artwork by John Heard (Azar Lawrence, Count Basie) & sleeve notes by Sherman Ferguson (Pharoah Sanders Quartet).
180g Black vinyl ( w/obi strip) left-over copies are now available to order from www.lightintheattic.net
Available in your local record store worldwide!
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WENDELL HARRISON 'THE CARNIVOROUS LADY' (1988)
Wendell Harrison was born in Detroit in 1942 where he began formal jazz studies for piano, clarinet and tenor saxophone. At 14, while still in high school, Harrison started performing & recording professionally with artists such as Marvin Gaye, Grant Green, Sun Ra, Hank Crawford … and many others.
In 1971, Harrison began teaching music at Metro Arts (a multi-arts complex for youth) where he also connected with Marcus Belgrave, Harold McKinney and Phil Ranelin…soon after they formed the (now legendary) Afro-centric TRIBE record label and artist collective. TRIBE used the Metro Arts complex as a vehicle to convey a growing black political consciousness. Wendell Harrison also published the very popular TRIBE magazine, a publication dedicated to local and national social and political issues, as well as featuring artistic contributions such as poetry and visual pieces.
In 1978 Harrison and McKinney co-founded REBIRTH, a non-profit jazz performance and education organization, in which many notable jazz artists have participated. Around the same time Wendell Harrison also created the WENHA record label and publishing company, which released many of his (now classic) recordings as well as those of other artists, such as Phil Ranelin, Doug Hammond and Reggie Fields (The Real ShooBeeDoo).
In the early 1990s, Wendell Harrison was awarded the title of “Jazz Master” by Arts Midwest. This distinction led Harrison to collaborate with fellow honorees and gave him the chance to tour throughout the United States, Middle East and Africa. Even to this day Wendell Harrison's recordings for the TRIBE, WENHA and REBIRTH labels have a large worldwide fanbase.
It is on REBIRTH that Harrison released the opus: THE CARNIVOROUS LADY (1988), which we are proudly presenting you today.
‘The Carnivorous Lady’ is a monster of an album featuring an all-star line-up that includes Marcus Belgrave (Ray Charles, Houston Person, Charlie Mingus) on guitar, Duke Billingslea (Martha Reeves) & Pamela Wise (Tribe) on keyboards, Larry Fratangelo (Fred Wesley, Dennis Coffey) on percussion and Shirley Hayden (Parliament/Funkadelic) on vocals.
On this fantastic sounding album (produced by the maestro himself) the listener is invited to experience a synthesis of what has been and what is now. The record shows Wendell’s trademark proficiency on saxophone, flute and clarinet. Although you can hear the 80ies creeping in with a smoother fusion sound, infectious boogie synths, R&B vocals and a lot of mind-blowing Jazz-Funk percussions…this album remains a very spiritual (and soulful) hard bop jazz record. From the first to the last note you get an irresistible blend of soul jazz combined with funky electric instrumentation…a groovy sound which is very much ahead of its time, yet overtly timeless and as relevant today as it was back when it was initially released. A total must-have that just begs for a prominent place in your record collection!
Tidal Waves Music now proudly presents the first ever vinyl reissue of ‘The Carnivorous Lady’ since its release in 1988. This official reissue is now available as a deluxe 180g vinyl edition (limited to 500 copies) and comes with the original ‘out of this world’ artwork.
Available worldwide May 26, 2023. Pre-order now from www.lightintheattic.net
An exclusive variant (#100 copies CLEAR Vinyl) is also available from www.lightintheattic.net
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HEART-SOUL & INSPIRATION ‘HEART-SOUL AND INSPIRATION’ (1974)
Little is known about the mythical band ‘Heart-Soul & Inspiration’ and their band leader, L.A. drummer and producer Vince Howard…The crooning Howard got his start in 1957 on Herb Newman’s Era label where he released a bunch of excellent Doo Wop, Funk & Soul singles. Over the ensuing decade Howard slowly began piecing together his “Orchestra” consisting of bassist Jimmy Soul, guitarist Ron Carr, and pianist John True.
Howard's Heart-Soul & Inspiration Orchestra cut their self-titled (and only) album in 1974 for John Spriggs’ Los Angeles-based Viscojon concern under the watchful eye of R&B godfather Johnny Otis.
The result was the birth of an astonishing piece of art filled with playful sexy moans, climaxing grooves and soulful hooks. One of the many highlights on the album (and clocking in at an epic eleven minutes), Vince Howard’s “I’m Gonna Love You More” is a tantric reimagining of Barry White’s 1973 sexually charged classic. Where White was content delivering a subtle and syrupy innuendo, Howard transformed the break-heavy track into a meandering funk workout.
Sadly, after their Barry White/Isaac Hayes facsimile LP failed to gain traction, the group released their final recordings—“Funk on Down” b/w “Fallen Angel”—for Viscojon in 1975 which became a hit among prominent DJ’s in the nightclub circuit. This ushered in the end for Howard’s Heart-Soul & Inspiration project.
After the band split up, Vince Howard went on to pursue his acting career and landed roles in television shows such as Star Trek, Knight Rider, Cheers, Mission: impossible and starred in classic films including Trouble Man and Lethal Weapon. Talk about a career switch!
Heart-Soul & Inspiration was a true example of a bright light burning out way too quickly. Thankfully we are left with the unique (and very rare) document that is their self-titled album. Almost impossible to get ahold of…a well-deserved reissue has been long overdue. This is an album that deserves a prominent place in every serious Funk & Soul enthusiast’s record collection!
Tidal Waves Music (in collaboration with The Numero Group) now proudly presents the first ever vinyl reissue of this rare Soul-Funk album (original copies tend to go for large amounts on the secondary market) originally released in 1974 on Viscojon Records. Now finally back available as a limited 180g vinyl edition (limited to 500 copies) complete with the original artwork and obi strip.
As an extra bonus feature, the limited color vinyl versions of this reissue will also include an exact reproduction of their classic 1975 ‘Funk On Down/Fallen Angel’ 7inch EP.
Available worldwide June 30, 2023. Pre-order now from www.lightintheattic.net
An exclusive variant (#100 copies BROWN COLORED Vinyl w/Bonus 7″) is also available from www.ziarecords.com
#heartsoulinspiration#vincehoward#los angeles#1974#funk#soul#numero#lightintheattic#ziarecords#coleminerecords#plaidroomrecords#VMP#vinylmeplease#tidalwavesmusic
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